Rating: 
Summary: A terrific performance
Review: From all of Domingo's recorded live performances of Otello, this 1996 opening night from the Met is the one that I like the most. It is amazing to hear and see, more than 21 years after his debut in this role, such a well preserved voice, such a complete actor, and such a fantastic rendition of the most difficult tenor role from Verdi's opera. There are no transpositions, and there is only one brief moment at the end of Act 2, where his voice suddenly sounds tired, but this is the only such moment from the entire duration of the magnificent rendition of the score. Fleming, in one of her first Desdemona, sings very beautifully, and with a lot of passion, her opulent voice admirably suited to the role. Morris is trying to cope with notes lying to high for his stentorian bass-baritone, which lacks in some instances the suavity and vocal inflections one would expect, (all the high A-s were also omitted from the drinking song).The other roles are nicely sung, and the chorus and orchestra provide a solid support for the principals under the baton of Levine.
Rating:
Summary: Great performance, but sound seems uneven
Review: I agree with other reviewers that this performance is even better than Domingo's Covent Garden performance, which is also available on DVD. The Met staging is similar but overall, seemed more detailed and realistic than the Covent Garden production. The video image is outstanding, with great clarity. I also preferred the lighting in the Met version, particularly the night shots.
While the audio is very good, I found that I had to adjust the volume during playback. It would get too loud and then when it was turned down, the softer passages were too quiet. I realize that the dynamic range of "Otello" can be a challenge for sound engineers. The EMI CD set from the Zefirelli film (which also features Domingo) has the same problem, but most other recordings do not. I have not noticed this problem with other DG DVDs of Met productions, and no other reviewer here on Amazon has mentioned it. I still think it's an excellent performance and the best DVD of this opera, but it seemed unfortunate that the recording level was not more consistent.
Rating:
Summary: Bravi, e Tutti! ...
Review: I first saw and heard Placido Domingo sing this role in the late seventies and early eighties, when the role was new to him. His interpretation then was that of a man in his early forties (where I am now), consumed by erotic fire and passion, and by anger at the racism and hypocrisies of the society in which he had risen, all of these emotions came together in his overwhelming and obsessive love for Desdemona.
Renata Scotto and Kiri Tekanawa both sang sensitive early interpretations of this misunderstood character, Desdemona, but Rene Fleming (though she is not a natural Verdi soprano) is simply unsurpassed in the delicacy and fragility of her phrasing, in her understanding of her character's love for this troubled man -- a love which makes her vulnerable and yet gives her strength.
With the passage of the years, Domingo's portrayal has become more sensitive and lyrical. The vocal heroics may not be what they were, though they still are in this late performance, but the infinite resignation and pathos of the final "Niun Mi Tema," would have been utterly impossible for the younger tenor.
The sense of tragedy and loss conveyed in this performance defies description or summary: it has to be experienced to be believed. It ensures Domingo's place as perhaps THE greatest "Otello" of the twentieth century. He joins the ranks of his heros -- Ramon Vinay, Giovani Martinelli and Mario Del Monaco in performing this greatest of all dramatic Operatic roles.
"Esultate!"
Rating:
Summary: Stunning!!!
Review: I have just finished watching this stunning performance of Otello. The performance is so incredible that I feel absolutely compelled to write this review.The biggest glory of this set is the absolutely stunning portrayal of the moor Otello by Placido Domingo. I've never been a huge Domingo fan (although I certainly respect him greatly). I tend to think that he has his fingers in too many pies. But this performance has changed my view completely. Domingo is not only vocally in superb form, his intense dramatic portrayal is electrifying! He loses all self-consciousness on stage and becomes Otello - there is no hint that he even thinks he is singing in an opera, he is so absolutely consumed by the role. Every expression on his face is under his absolute control. This is one of the most gripping portrayal of an operatic character I've ever seen. In this performance, Domingo absolutely blasts everyone else away - Fleming, Morris, Croft.... The second glory of this set is the absolutely ravishing soprano of Renee Fleming. Renee Fleming is also very much into her character. It is somewhat cruel to juxtapose Fleming's Desdemona with Domingo's towering Otello. Because you sense that Fleming's characterization is weaker than Domingo's. But that doesn't mean that Fleming cannot act - just that Domingo is simply too good in this role. In any case, Fleming's dramatic portrayal is also very intense - you feel and see her emotions and sorrow throughout the opera. She is a picture of chaste innocence in Act 1. In Act 2, her shock and grief are palpable. In Act 3, she gives Desdemona a somewhat stronger character than usual when Desdemona denies any marital infidelity. Her sorrow is heart-rending when Domingo accuses her of infidelity and finally, curses her at the end of Act 3. In Act 4, her Willow Song and prayer tugs at your heart strings. To top it all, Fleming's voice is absolutely ravishing. In some of her recent recordings, she has adopted some mannerisms. NOT SO DOWN HERE. She sings beautifully, and her singing projects her emotions but she does not overdo things nor does she engage in some of the somewhat irritating mannerisms of late. James Morris is an excellent Iago. He acts well but certainly falls a little short of Fleming's or Domingo's intensity. Nevertheless, he is vocally excellent. I like Cassio here. Not only is he really handsome, he is very much into his character and he is vocally in superb form. The set, by Elijah Moshinsky, captures the Shakespearen atmosphere superbly. It is the exact same set (with very minor changes) as the 1992 Convent Garden Otello with Solti, Domingo, Kanawa and Serkus. It is a fantastic set. James Levine's conducting is also superb. The tension never slacks and the drama keeps flowing. An exceptionally fantastic production from the Metropolitan opera. I've been following the recent Met releases - Fidelio with Karita Mattila and Ben Heppner, Tristan and Isolde with Jane Eaglen and Ben Heppner. And now this Otello with Domingo and Fleming. The Metropolitan Opera has really surpassed itself with all these 3 releases. They are all the best I've ever seen. The 1998 production of Samson Et Dalila with Domingo & Olga Borodina ia scheduled for release in June 2004. I'm looking forward to it. Also, the Met has actually videotaped Karita Mattila's stunning 2004 Salome. Because of lack of funding, it is stil waiting to be broadcast. But why wait? Every opera fan should WRITE IN TO THE MET and ASK THEM TO RELEASE IT IMMEDIATELY. Go to the Met Website and find their contact email, and WRITE IN AT ONCE to ask them to release this incredible 2004 Salome. In addition, The Met has videotaped the 2003 Ariadne Auf Naxos (Deborah Voigt) and the 2001 Wozzeck - all awaiting telecast due to lack of funding. Write in to tell them we want these on DVD. Show them our support. Yes, don't even think about not buying this DVD!! In fact don't even think about not buying the Met 2001 Fidelio or Met 1999 Tristan and Isolde. These are already classics!!!
Rating:
Summary: Domingo and Fleming
Review: I thought it was excellent. I own another one with Domingo,but I enjoyed this one better. I'm a big Fleming fan and enjoyed her performance better than the other one I own. Highly recommend it.
Rating:
Summary: Domingo's greatest performance of Otello
Review: I've never been a fan of Verdi's Otello, yet I have the recordings with Martinelli, Vinay, del Monaco, McCracken, Domingo and some of today's Otellos (Of whom nobody stands out in particular). My favourite Otello on disc is by far Ramon Vinay who recorded it live with young Renata Tebaldi. (Available here at Amazon btw --> http://www.amazon.com/exec/obidos/tg/detail/-/B0001LYGGW/qid=1087831237/sr=1-4/ref=sr_1_4/104-0578352-6919963?v=glance&s=classical Domingo is an Otello in the tradition of Vinay, his baritonal tenor (He started as a baritone btw) being perfect for the jealous moor. Of course he lacks the acuti but Domingo never had a rock-solid C. To me it doesn't matter at all because his portrayal of Otello is absolutely stunning. Esp. the finale is moving and the fact that Domingo is a superb actor only adds more (...)here. Maybe not at his vocal best but the total package is absolutely incredible.
Now for his leading lady, a woman who like all great ones has aroused much controversy as well as hysteria. Having heard her live at last I can assert that Fleming's full lyric voice is indeed BIG, bigger than Cotrubas or Gallardo Domas. There's a ping to it now that shows maturity and spinto qualities but thank god she never went Ricciarelli's way who sang Elisabetta, Aida and even Turandot (On disc) in her youth (!). If she continues to look after herself like this she is following Freni's steps. BUT: I have to agree that she sometimes tries too much. Not being a mere deliverer of tones she always tries new ways, new colours and interpretations. Some work, some don't. Her earlier Il Pirata, which I have, was overdone but the late ones at the MET were perfectly balanced and incredibly moving. She is a singer who matures through experience. I found her Bel Canto CD not to be ghastly but refreshingly lucid, if unusual. As her development shows (E.G. the Pirata) she knows perfectly well what she's doing. The Desdemona she portrays here is hauntingly beautiful and vocally impeccable. Add to that she's also a magnificent actress and you have a top notch performer. Someone at ther Belcanto CD suggested she should sing Turandot&Tosca (!) and I thank God that Miss Fleming doesn't heed advice like that. Her instrument doesn't have the steel and column of sound for either role. It is a joy to behold how she revives rarities like Alcina, Rosmonda d'Inghilterra, Rusalka, Thais etc. etc. instead of singing the warhorses. I cannot wait to hear her as Thais next year (Already have my ticket) and add to that that her partner will be Thomas Hampson and you have operatic heaven. The accusation of "mannerisms" is as old as singing itself and it's getting stale. Farinelli was attacked with it, Patti was, Lotte&Lilli Lehmann were as were Schipa, de Lucia (!), Hempel, Schwarzkopf, Rysanek (!), della Casa (This wonder of elegant singing!), Pavarotti, Sutherland, Sills and so forth. It is only natural that a singer has good moments and bad ones. But to declare the entire artist to be mannered is not only unjust but also rather vicious. I for one find Sills' and Sutherland's overembelleshing every belcanto part they ever did (They had extra cadenzas etc. written in case because what the composer wrote wasn't enough) to be mannered but it doesn't bug me so much that I cannot enjoy their artistry. In one sentence: Fleming is a great Desdemona and a great artist.
James Morris is a perfectly nasty Iago, yet I prefer Bruson in this role. Bruson, this Verdian hero, was an elegant villain and stole the show from Cura (At 65) when Cura sang Otello in Vienna. Levine's conducting is bombastic as usual and a great asset. A wonderful DVD of Verdi's masterpiece. Two thumbs up!
Rating:
Summary: Domingo's Best Performance Ever!
Review: I've seen Domingo perform Otello live about 24 times including being in the audience the night this was filmed as well as opening night. This was the most magical night in all my years of going to opera. The electric energy flying around the stage between the principals and the audience was almost unbearable. While waiting in line to see Renee backstage, the prompter (she has been with the Met some 40 years) asked if we had seen the opening night performance and we answered in the affirmative and she said "Well, I think tonight was better, in fact, I think it is the best performance of Otello I've ever seen!" And, I figure she's seen a few including those of Domingo. His acting in this performance is superb! He is Otello! James Morris was manipulative, evil and charming at the same time. Renee was a wonder! In fact the reviewer at the time for the L. A. Times said it should have been called "Desdemona" so enchanted with her performance was he. She had just given birth to her second daughter 3 weeks earlier and apologized to us for greeting us in her dressing room sitting down! After she falls on the floor, sings on the floor, runs and puts her entire heart and soul into her performance! The lady was forgiven! Domingo was in an extremely good mood after an opera that usually totally exhausts him! He knew that this was a very special performance. Thank you Met for broadcasting this as I watch it frequently and my tape is almost worn out! I've been waiting for this opera to be released as one of the most outstanding productions and casts ever of my favorite opera and now they have done it! If you can only buy one DVD this year, make it this one! Also, it's history, as you'll never see him again, or anyone else, I wager, that can come close to capturing the character and singing it as well as he does. This is opera magic!!!
Rating:
Summary: One of the best filmed Otellos
Review: Otello is Domingo's signature role and although he is not at his prime here there is absolutely no sign of vocal fatigue while he sings with tremendous passion and musical maturity. From his Heroical Entrance to his Ecstatic duet with Desdemona all the way to his passionate duet with Iago and finally to his extremely passionate final phrases he brings shivers down your spine. My personal favorite Otello is the greatest dramatic tenor of the 20th century Jon Vickers and certainly Domingo rivals him for the first place in this role. Desdemona is one of Verdi's easiest female roles. No extreme technical abilities are required thus this role even second class voices have sung rather adequately. In fact Desdemona has always been the signature role of second class sopranos. Renee Fleming's Huge Voice and her Immensely talented vocal cords seem too much for this role which Fleming makes it seem like a short walk in the park (Fleming even made Imogene seem like a walk in the park and she sang from deep chest to high F there).
Fleming is a supreme actress. From the moment she enters all the Affection and Love is painted in her face... her Fidelity to Otello and her Nobleness are both obvious. In her duet with Otello she is Ravinshingly Beautiful and in her last great scene she certainly rivals the 2 greatest Desdemonas I have heard: Leonie Rysanek for the Unbelievable Drama and Unearthly Pianissimi and Kiri Te Kanawa for the Beauty of Voice. Fleming uses her rich middle voice magnificently and she sings the recitative "Ave Maria piena di grazzia..." with such a deep middle voice with a slight hint of chest tone that makes it delicately Tragical. Her cry when she says "Emilia Addio" will bring tears in your eyes and when she sings the final prayer her pianissimi are of such control and beauty that transform this little aria into a small masterpiece. Her facial expressions are a marvel to look at and extremely musical.
Of course if you want to get familiar with Fleming's Immense Voice such a little role as Desdemona is no place to begin (Fleming will be singing Vocal Labyrinths as Semiramis and Rodelinda next season) but nevertheless you will enjoy this role fully sung with supreme drama. James Morris is adequate and at times very passionate but somehow when you remember Gods like Gobbi in this role all else seem pale. Overall this is a magnificent performance far superior to the previous filmed Domingo Otello due to the presence there of the sweet but indiferent Riciarelli.
Rating:
Summary: Magnificent
Review: Placido Domingo surpasses himself with the magnificence of his singing. In addition, Renee Fleming proves that the best singers of today can hold up to the best singers of yesteryears. Her Desdemona is incredibly gorgeous. With her glorious and creamy voice, it is no wonder that Otello is so enamoured of Desdemona and so jealous!! Morris is excellent as Iago - he certainly has the vocal heft for the part (but of course, since he is the Wotan of this decade). Buy this DVD!! It is a superb production not to be missed. While it is true that Domingo's Otello is very well documented (in fact, one wonders if it is too well-documented - shouldn't Ben Heppner have a chance?), this is Fleming's ONLY record of her Desdemona. Don't miss it!
Rating:
Summary: Five stars for an excellent DVD
Review: Renée Fleming does NOT have a huge voice. She is a full lyric soprano with limited volume. She is very audible when she sings at the Met, but her voice is simply not possessed of great volume. Don't overpraise this very mannered soprano. Her "Bel Canto" CD is simply ghastly. The singing on it is so mannered that the listener is embarrassed for Fleming. She's quite good on this DVD, though. But, I have to say, Domingo is the star here and definitely outshines his leading lady. If Fleming would clean up her act, she would be a great soprano. Unfortunately, she uses a lot of mannerisms to add "drama" to her singing. She should know better. With her voice, such mannerisms are completely unnecessary. I hope her upcoming Handel CD is free of mannerisms. This DVD of "Otello" gets a high recommendation from me.
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